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- W2077808746 abstract "voice, considered sola igiene del mondo, namely, war. Within Italy, futurism was essentially a high-powered publicity organ in behalf of the bellicose spirit, and, though eclectic in its origins (an ill-digested stew of French romanticism and symbolism, verismo, Nietzsche, Bergson, D'Annunzio, Verhaeren, etc.) and hence literary in its rhetoric, its end was, and was meant to be, militant nationalism. Paradoxically, however, futurism made its bid for attention-if a scream can be called a bid-outside Italy in terms of its programs for the arts, which happened to coincide broadly with certain programs beginning to find currency among various avant-garde groups (particularly in France). Such a coincidence is easily explained by the oltremontane roots of the vast majority of futurist notions on art, so that in one sense it is fair to say that the numerous futurist manifestoes on the arts, published throughout Europe between 1909 and 1919, said nothing of any importance that had not already been said better by stranieri. The question then becomes: How can one explain the momentary attraction exercised by futurism on such serious artists as Pound, Severini, Kahn, Papini, Soffici, Mayakovsky, Pasternak, and Apollinaire? Without having recourse to a concept of Zeitgeist, it can be said that it was precisely the propagandist or advertisingagency side of futurism that made its fortune in Europe. Its calculated overstatements, its will to outrage, its stage Italian garishness, its high exasperation-quotient, were offered in behalf of modernity and the liberty to experiment and directed against the confining -isms of the past. Everywhere on the Continent were groups (cubists, orphists, vorticists, imagists, paroxyists, dynamists, vitalists, expressionists, et al.) struggling for a public, frustrated by the massive indifference of the public that existed (symbolized in that figure of defensive fun, l'homme moyen sensuel, canonized in Jarry's Pere Ubu). T en Marinetti (tres riche et tres fat, according to Gide1) dropped from heaven (Milan), burning to spend his money and ti e on an internationally scaled war against the past; more than happy to epater le bourgeois and even punch him in the nose; delighted to issue manifestoes in English, French, and Italian directed against academies, museums, gondolas, Beethoven, Shakespeare, spiritual women, solemnity, syntax, logic, etc. If such a process did not educate the public, it at least provoked it, and provocation has notoriously ever been the first step toward interest. On such grounds as these, as an unreasonable facsimile of the Socrat-" @default.
- W2077808746 created "2016-06-24" @default.
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- W2077808746 date "1959-11-01" @default.
- W2077808746 modified "2023-09-23" @default.
- W2077808746 title "Futurism and the French Théâtre D'Avant-Garde" @default.
- W2077808746 doi "https://doi.org/10.1086/389308" @default.
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